Newsletter
The newsletter is the best way to stay connected with my work: new projects, exhibitions, releases, and more. I personally write a brief note once a quarter or whenever there’s something worth sharing.
You can see the archives below.
You can see the archives below.
Some news at last
10/03/2026
10/03/2026
Over the past year, my work has gone through a period of exploration alongside a renewed focus on my personal practice. Painting took on a central role in my studio work, and I was delighted to present new pieces with Hashimoto Contemporary in San Francisco. Alongside this, I continued to work with printmaking and photography, further expanding the material and conceptual language of my practice. Painting took on a central role in my studio work, and I was delighted to present new pieces with Hashimoto Contemporary in San Francisco. Alongside this, I continued to work with printmaking and photography, further expanding the material and conceptual language of my practice.
In parallel with my studio work, I was invited to contribute to a number of commissioned projects for publications and brands. Highlights include a collaboration with Louis Vuitton on the America’s Cup poster, a campaign for Renault, and several magazine covers, including The New York Times Sport.
I’m also very happy to share that I’ve just returned from a residency in Brittany, France, where I screen-printed a book titled Fragments. More on that soon. In the meantime, I’ve published a second edition of Painting I.
As always, I’d love to hear from you.
Speak Soon,
T
![]()
![]()
![]()
Red Hot, acrylic on cotton mounted on aluminium, 50x36 cm, 2025
![]()
![]()
![]()
Meteora, acrylic on cotton over aluminium, 43x60 cm, 2025
A few years ago, while visiting friends near Valencia, Spain, we took a night time walk to the local playground with their young son. As they played, I suddenly saw a massive shooting star streak across the sky. It lasted much longer than usual, and as I tried to alert them, i realised I was unable to find the words.
![]()
![]()
Sketch for the America’s Cup poster for Louis Vuitton and Super Bowl, sport section cover for The New York Times.
![]()
![]()
![]()
R5 Roland Garros advertising campaign for Renault.
![]()
![]()
![]()
A glimpse into my residency at Atelier Salamandre in Brittany, France, where I screen-printed and hand-bound a new book, creating an edition of 90 copies, which will be available soon. It was incredibly refreshing to embark on an adventure, traveling solo through a snowstorm, discovering a new place, and meeting new friends. Making a book by hand is hard work, but it’s also deeply satisfying and I can’t wait for the next one.
![]()
![]()
Paintings I, 21 x 15 cm, 40 pages. This small publication features 34 paintings made between 2018 and 2022. Printed in Barcelona on Fedrigoni Arena, staple bound, second edition (2024). Available ︎︎︎ here
In parallel with my studio work, I was invited to contribute to a number of commissioned projects for publications and brands. Highlights include a collaboration with Louis Vuitton on the America’s Cup poster, a campaign for Renault, and several magazine covers, including The New York Times Sport.
I’m also very happy to share that I’ve just returned from a residency in Brittany, France, where I screen-printed a book titled Fragments. More on that soon. In the meantime, I’ve published a second edition of Painting I.
As always, I’d love to hear from you.
Speak Soon,
T
Red Hot, acrylic on cotton mounted on aluminium, 50x36 cm, 2025
Meteora, acrylic on cotton over aluminium, 43x60 cm, 2025
A few years ago, while visiting friends near Valencia, Spain, we took a night time walk to the local playground with their young son. As they played, I suddenly saw a massive shooting star streak across the sky. It lasted much longer than usual, and as I tried to alert them, i realised I was unable to find the words.
Sketch for the America’s Cup poster for Louis Vuitton and Super Bowl, sport section cover for The New York Times.
R5 Roland Garros advertising campaign for Renault.
A glimpse into my residency at Atelier Salamandre in Brittany, France, where I screen-printed and hand-bound a new book, creating an edition of 90 copies, which will be available soon. It was incredibly refreshing to embark on an adventure, traveling solo through a snowstorm, discovering a new place, and meeting new friends. Making a book by hand is hard work, but it’s also deeply satisfying and I can’t wait for the next one.
Paintings I, 21 x 15 cm, 40 pages. This small publication features 34 paintings made between 2018 and 2022. Printed in Barcelona on Fedrigoni Arena, staple bound, second edition (2024). Available ︎︎︎ here
Back to School
01/10/2024
01/10/2024
Following my residency in Los Angeles (2023), I got an opportunity to use traditional stencil for a collaboration with my friends at CPRV. I created two visuals for the posters of their exhibition at Licht Gallery in Tokyo. The original images were traditionally printed using gouache with hand cut metal stencils which allowed me to produce a small batch of mini prints.
Climbing and Art have been such big parts of my life since I was little, so it was really cool to finally see them intersect this year for the two first covers of the recently re-launched Summit Journal.
I was also very happy to show a new painting at Hashimoto Contemporary Los Angeles, “Potluck" is an ode to sharing good times (and food) with friends.
As always, feel free to drop me a line !
Speak Soon,
T
![]()
Posters for CPRV’s exhibition at Licht, Tokyo.
![]()
Stencil, Pochoir prints and a cute truck in Tokyo.
![]()
Into the night and Playground magazine covers for Summit Journal.
![]()
Potluck, acrylic on linen, 50 × 65 cm, 2024 at Hashimoto Contemporary, Los Angeles.
Climbing and Art have been such big parts of my life since I was little, so it was really cool to finally see them intersect this year for the two first covers of the recently re-launched Summit Journal.
I was also very happy to show a new painting at Hashimoto Contemporary Los Angeles, “Potluck" is an ode to sharing good times (and food) with friends.
As always, feel free to drop me a line !
Speak Soon,
T
Posters for CPRV’s exhibition at Licht, Tokyo.
Stencil, Pochoir prints and a cute truck in Tokyo.
Into the night and Playground magazine covers for Summit Journal.
Potluck, acrylic on linen, 50 × 65 cm, 2024 at Hashimoto Contemporary, Los Angeles.
Greating from Los Angeles
05/01/2024
05/01/2024
Last October I was very lucky to do a three week long art residency in Los Angeles with Kitty Maryatt from Two Hands Press.
I have been using stencils for a long time, first on walls and wood panels, and a few years later on paper. I got interested in Pochoir (traditional French stencil) when working on my first solo show Voyage in 2015. From the very scarce resources available about the technique, I created an hybrid modernised version which I have been using ever since.
Stencils were very popular in Europe and in particular in Paris during the first half of the 20th century before they slowly disappeared in favour of more modern and less labour intensive techniques, like silkscreen printing and modern offset printing. They were used to colour fashion illustrations in magazines, architecture portfolios, wallpaper catalogues...etc These were coloured page by page using hand cut metal stencils, applying each colour with a big brush, one after the other… At a time where art publications were mostly printed in black and white, the vivacity of gouache permitted vibrant reproductions of paintings from the likes of Joan Miró or Sonia Delaunay. A few artist books, like Henri Matisse’s master piece Jazz published in 1947, were even entirely printed with pochoir (except the text) in order to closely reproduce the original paper cuts.
So, when the opportunity arose to learn the traditional way to print with stencils, which only a handful of people still master, I jumped on it ! Learning this traditional process has taught me new ways of working and I will continue to develop this printed body of work in the next few months. And perhaps I can also play a small role in helping to safeguard and usher this very special skill into the future.
I had a wonderful time in California, learning, visiting artists I admire, meeting with old friends (and new ones), collectors and galleries. It was also truly special to experience the solar eclipse which inspired Ring of Fire the lamp collaboration I presented with CPRV last summer, now as a pochoir print in an edition of 5.
As always, feel free to drop me a line !
Speak Soon,
T
![]()
![]()
Raising from the Glacier, pochoir print made during my residency in Los Angeles.
![]()
Ring of Fire, pochoir print, edition of 5, 22 x 22 cm, 2023.
I have been using stencils for a long time, first on walls and wood panels, and a few years later on paper. I got interested in Pochoir (traditional French stencil) when working on my first solo show Voyage in 2015. From the very scarce resources available about the technique, I created an hybrid modernised version which I have been using ever since.
Stencils were very popular in Europe and in particular in Paris during the first half of the 20th century before they slowly disappeared in favour of more modern and less labour intensive techniques, like silkscreen printing and modern offset printing. They were used to colour fashion illustrations in magazines, architecture portfolios, wallpaper catalogues...etc These were coloured page by page using hand cut metal stencils, applying each colour with a big brush, one after the other… At a time where art publications were mostly printed in black and white, the vivacity of gouache permitted vibrant reproductions of paintings from the likes of Joan Miró or Sonia Delaunay. A few artist books, like Henri Matisse’s master piece Jazz published in 1947, were even entirely printed with pochoir (except the text) in order to closely reproduce the original paper cuts.
So, when the opportunity arose to learn the traditional way to print with stencils, which only a handful of people still master, I jumped on it ! Learning this traditional process has taught me new ways of working and I will continue to develop this printed body of work in the next few months. And perhaps I can also play a small role in helping to safeguard and usher this very special skill into the future.
I had a wonderful time in California, learning, visiting artists I admire, meeting with old friends (and new ones), collectors and galleries. It was also truly special to experience the solar eclipse which inspired Ring of Fire the lamp collaboration I presented with CPRV last summer, now as a pochoir print in an edition of 5.
As always, feel free to drop me a line !
Speak Soon,
T
Raising from the Glacier, pochoir print made during my residency in Los Angeles.
Ring of Fire, pochoir print, edition of 5, 22 x 22 cm, 2023.Over the Summer
09/06/2023
09/06/2023
I hope you had a good summer break, I have been busy working on a new website which should be nicer and faster to navigate, even on mobile !
Over the last few months I have been revisiting my pochoir technique, changing some things to allow more multiples. Leaving the shore is a new pochoir inspired by a boat trip, which I just added to the shop.
I was also lucky to show two paintings in group shows this summer: Twin Lakes for 16x20 at Harman Project (New York) and a new piece inspired by my beloved Coco at Hashimoto Contemporary (Los Angeles), For the love of Dogs is open till the 9th of September.
Earlier this year I created New Horizon for the cover of Sphere magazine, channelling the glamorous lifestyle of sailing in the Mediterranean, with its characteristic sharp light and a dose of adventure
And finally I was delighted to collaborate with my friends at CPRV on a unique lamp Ring of Fire displayed at Art-o-rama Contemporary Art Fair in Marseille.
As always, feel free to drop me a line !
Speak Soon,
T
![]()
Leaving the Shore, pochoir, edition of 8, gouache on paper, 21 x 30 cm, 2023.
![]()
Coco, acrylic on linen, 55 x 89 cm, 2023.
![]()
For the love of Dogs, Hashimoto contemporary, Los Angeles. (Photo by Megan Cerminaro)
![]()
New Horizons magazine cover for Sphere.
![]()
Ring of Fire, 35 x 54 x 19 cm in collaboration with CPRV
Ring of Fire is playing with the universal representation of light and with the change of state that the lamp provides (ON / OFF). During the daytime the lamp is OFF, the room is lit with natural light which is symbolised by a warm orange solar disk. When switched ON there is a modification of the light direction, quality and atmosphere. In the natural world similar phenomena also exist with eclipses, in particular annular eclipses which occurs when the moon blocks out the center of the sun, leaving a glowing ring called “Ring of Fire”. The switch commands the eclipse, obscuring the sun and revealing the Ring of Fire.
Over the last few months I have been revisiting my pochoir technique, changing some things to allow more multiples. Leaving the shore is a new pochoir inspired by a boat trip, which I just added to the shop.
I was also lucky to show two paintings in group shows this summer: Twin Lakes for 16x20 at Harman Project (New York) and a new piece inspired by my beloved Coco at Hashimoto Contemporary (Los Angeles), For the love of Dogs is open till the 9th of September.
Earlier this year I created New Horizon for the cover of Sphere magazine, channelling the glamorous lifestyle of sailing in the Mediterranean, with its characteristic sharp light and a dose of adventure
And finally I was delighted to collaborate with my friends at CPRV on a unique lamp Ring of Fire displayed at Art-o-rama Contemporary Art Fair in Marseille.
As always, feel free to drop me a line !
Speak Soon,
T
Leaving the Shore, pochoir, edition of 8, gouache on paper, 21 x 30 cm, 2023.
Coco, acrylic on linen, 55 x 89 cm, 2023.
For the love of Dogs, Hashimoto contemporary, Los Angeles. (Photo by Megan Cerminaro)
New Horizons magazine cover for Sphere.
Ring of Fire, 35 x 54 x 19 cm in collaboration with CPRV
Ring of Fire is playing with the universal representation of light and with the change of state that the lamp provides (ON / OFF). During the daytime the lamp is OFF, the room is lit with natural light which is symbolised by a warm orange solar disk. When switched ON there is a modification of the light direction, quality and atmosphere. In the natural world similar phenomena also exist with eclipses, in particular annular eclipses which occurs when the moon blocks out the center of the sun, leaving a glowing ring called “Ring of Fire”. The switch commands the eclipse, obscuring the sun and revealing the Ring of Fire.